Le Violon Rouge (The Red Violin) directed by Francois Girard starring Samuel L. Jackson, Don McKellar, Carlo Cecchi, Irene Grazioli, Christopher Koncz, Jason Flemyng Not Rated (some sexuality)
Why do people buy antiques? They're old and frayed materials that have passed through time, faded by each passing year. We pay gigantic sums of money to obtain them, receiving what can easily be called disposable. In The Red Violin, an auction is being held and many people ferociously covet a centuries-old violin; one that has been restored, but nevertheless, is worn. They all desire this relic for different reasons. They know something about it. It has been touched by history, by their ancestors, by those they profoundly admire. Francois Girard's flawed but pleasing film, The Red Violin, discusses this and more- the yearning for "perfection," as Roger Ebert pointed out; and the need and importance of music and an emotional outlet.
The film follows the journey of this red violin, from its native Italy to when it resides in Communist China. The violin's odyssey begins in Italy, where a pregnant woman, Anna Bussotti, has just discovered from her fortune-telling servant that she will have a difficult, possibly fatal, childbirth. Her husband, Nicolo, a man who makes violins for a living, has made a beautiful one for his coming baby. When Anna dies from labor difficulties and the baby dies too, Nicolo bathes this priceless violin in her blood. It is then shipped to an Austrian monastery. For a century, it is used for teaching little boys how to play, until finally it comes into the hands of a very young musician, a boy, Kasper Weiss, who is possibly as precocious as Mozart was. He is nurtured by Georges Poussin, who auditions him in front of royalty. >From there, the violin comes into the hands of gypsies in England and then to a famous, genius musician, Frederick Pope, who is inspired by the violin's utter perfection to begin playing it again. He woos his women and makes love to them with this instrument. The red violin turns up, later, in China during the Cultural Revolution, where a woman must hide it from Western-hating officials. Its final stop is at the home of the auction, Canada, where it is discovered after being much sought after, and is restored and about to be sold.
All the people who gather at the auction to purchase this artifact are aware of its importance, that it has journeyed several continents and countries and has been in the hands of such famous and prodigious people as Frederick Pope. A pair of Chinese people are after it because of its history in China; one man longs for it because it has been used by Pope. So much emotion has been poured into and been released through this instrument, "the perfect marriage of science and beauty." The violin has been painted with a woman's own blood, the maker's muse and wife. It is not insignificant. In Austria, it was played by a small little boy who could have resulted into great and famous things had he not died. Kasper's performances were startlingly superb, filled with longing and vibrancy. This orphan expressed his sadness and loneliness through the instrument. When it was found with gypsies, it was one of the only things that brightened up their lives. Pope used it to express his sexual desires and lusts. His orgasmic playing was inspired by making love to his women; he played while having sex. In China, it is the one greatness in the cloudiness of Communism.
Samuel L. Jackson has a little role here as a collector who lusts after it more than anyone- not only does he want it for its historical context, he also thinks it is the most "beautiful acoustic machine" ever made and he wishes to share this with his daughter, his family, pass the soul of Anna Bussotti and history and continents down.
The Red Violin also tells of the need for perfection, for music, for uplifting. The symbol of perfection for those attending the auction is Bussotti's violin and the cinematography aids in making the instrument seem priceless; meticulously and closely inspecting its lines, wood, strings, the red color. The Red Violin is about the need and wish to preserve this perfection, to never let it die. When a violin is confiscated by Communist officials in China from a music teacher, he wearily throws it into the fire. He is infinitely glad when he learns that this instrument is still alive in China, the woman who owns the red violin gives it to him as a present. The score is wonderfully evocative; the little orphan in Austria doesn't speak much, but we understand him clearly through his glorious violin performances.
There are flaws, of course, in the film. There is a particularly erotic scene in which Frederick Pope is making love to his girlfriend; as she kisses him, he plays fiercely, aroused- spelling, musically, his passion and gratification. I wish the film had made the sexual details elusive; it would have been more intense and interesting to listen to the music alone instead of hearing the music and seeing the activities producing its ardent quality simultaneously. The imagery gets in the way of the powerful violin.
There is also a supernatural subplot that is painfully obvious in its absurdity. The fortune-teller, who is intercut with the violin's journey and the auction, throughout the film, tells that whoever comes in contact with Anna Bussotti will have tragedy befall them. When the violin, drenched in her blood, is in the hands of players, they die soon later. This adds childishness and silliness to otherwise serious and sophisticated material.
I especially enjoyed the scenes in which the violinists perform. They are obviously playing with all their heart and soul; they breathe deeply, in and out, frequently, as if all their strength and emotions are fueling the music's fire. The Red Violin is mightily ambitious: is in five languages and more than five countries. It attempts to document the life of this gem, this invaluable violin that has touched and brought harmony, passion, and fervor to the lives of unhappy people. It has gone through centuries of war, sex, and deceit. The Red Violin borders on greatness and mediocrity, pushing more towards the mediocre; but what is great about it: its mapping of the human desire, is more than sufficiently absorbing.
By Andrew Chan
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